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YIVO digitizes writer Chaim Grade’s archive, a Yiddish treasure with a soap opera backstory
(JTA) — Years ago, when I worked at the Forward, I had a cameo in a real-life Yiddish drama.
A cub reporter named Max Gross sat just outside my office, where he answered the phones. A frequent caller was Inna Grade, the widow of the Yiddish writer Chaim Grade and a fierce guardian of his literary legacy. Mrs. Grade would badger poor Max in dozens of phone calls, especially when a Forward story referred kindly to the Nobel laureate Isaac Bashevis Singer. Grade’s widow described Singer as a “blasphemous buffoon” whose fame and reputation, she was convinced, came at the expense of her husband’s.
As Max explains in his 2008 memoir, “From Schlub to Stud,” Mrs. Grade “became a bit of a joke around the paper.” And yet in Yiddish literary circles, her protectiveness of one of the 20th century’s most important Yiddish writers was serious business: Because Inna Grade kept such a tight hold on her late husband’s papers — Chaim Grade (pronounced “Grah-deh”) died in 1982 — a generation of scholars was thwarted in taking his true measure.
Inna Grade died in 2010, leaving no signed will or survivors, and the contents of her cluttered Bronx apartment became the property of the borough’s public administrator. In 2013, Chaim Grade’s personal papers, 20,000-volume library, literary manuscripts and publication rights were awarded to the YIVO Institute for Jewish Research and the National Library of Israel. They are now stored in YIVO headquarters on Manhattan’s W. 16th Street.
This week YIVO and the NLI will announce the completion of the digitization of “The Papers of Chaim Grade and Inna Hecker Grade,” making the entire archive publicly accessible online. When the folks at YIVO invited me to come and look at the Grade collection, I knew I had to invite Max, not just because of his connection to Inna Grade but because he has become a critically acclaimed novelist in his own right: His 2020 novel “The Lost Shtetl,” which imagines a Jewish village in Poland that has somehow escaped the Holocaust, is in many ways an homage to the Yiddish literary tradition.
We met on Thursday with the YIVO staff, who were tickled by the T-shirt Max was wearing, which had a picture of Chaim Grade and the phrase “Grade is my homeboy.” (Max said his wife bought it for him, although neither could imagine the market for such a shirt.)
Stefanie Halpern, director of the YIVO archives, and novelist Max Gross discuss a thick file containing news clippings relating to the late Yiddish novelist Chaim Grade at YIVO’s Manhattan offices, Feb. 2, 2023. (New York Jewish Week)
The Grade papers — manuscripts, photographs, correspondence, lectures, speeches, essays — are stored in folders in gray boxes, whose neatness belies the years of effort that went into putting them in order. Jonathan Brent, executive director and CEO of YIVO, described for us the Grades’ apartment, which he visited shortly after Inna’s death.
“It was like a combination of my grandmother’s apartment and a writer’s home,” he said. “Everything was books, books to the ceiling. You open a drawer in the kitchen where you think there’ll be knives and forks, there are books, there are manuscripts. You open the cabinet in the bathroom, there are more manuscripts and books and books…. But the thing I remember most is that at the top of a shelf there was that much dust.” He held his fingers about two inches apart.
Inna Grade was Chaim Grade’s second wife. The writer was born in Vilna (now in Lithuania) in 1910. He was able to flee east during the Nazi occupation, leaving behind his mother and his first wife under the assumption that the Germans would only target adult men. It was a tragic miscalculation, and their deaths would haunt Grade the rest of his life. Inna Hecker was born in Ukraine in 1925, and met Grade in Moscow during the war. Married in 1945, they immigrated to the United States in 1948.
Chaim Grade had already established a reputation as a poet, playwright and prose stylist before the war; English translations of his novels “The Agunah” and “The Yeshiva” and serial publication of his novels in the Yiddish press brought him recognition in America for what the Yiddish scholar Ruth Wisse calls a “Dostoyevskian talent to animate in fiction the destroyed Talmudic civilization of Europe.” Columbia University professor Jeremy Dauber, in a YIVO release, says that Grade was possessed “by the spirit of the yeshiva world he’d left behind; then possessed by the spirits and memories of those who’d been murdered by the Nazis.”
Stefanie Halpern, director of the YIVO archives, showed us the physical evidence of that possession: Grade’s notebooks, in which he wrote down ideas and inspiration in a careful Yiddish script; manuscripts for at least two unpublished dramatic works, “The Dead Can’t Rise Up” and “Hurban” (“Sacrifice”); a photograph of Grade standing amidst the ruins of Vilna during his only visit after the war; pictures of the Bronx apartment taken when the couple was still alive, book-filled but still tidy.
Halpern also showed us the Yiddish typewriter recovered from the apartment, with what is believed to be the last page he worked on still rolled in its platen.
Chaim Grade’s typewriter, preserved in the condition it was found when the Yiddish author died in 1982, contains what are apparently the last lines he ever wrote. (New York Jewish Week)
The archivists are also careful to give Inna her due. After arriving in America she studied literature and received a master’s degree from Columbia, and often translated her husband’s work. Thanks to her, hundreds of clippings of Grade’s work and articles about him have survived.
Her correspondence reflects the lengths she went to protect her husband’s legacy during and after his lifetime, including a bizarre and lengthy letter to the Vatican complaining about Singer. “She was a brilliant and creative person, devoted in a way only a widow can be,” said Brent. “And perhaps devoted to a maddening extent.”
If all that sounds like the stuff of Jewish fiction, it is: In 1969, Cynthia Ozick wrote a novella called “Envy; or, Yiddish in America,” about Yiddish writers very much like Grade consumed with envy for a writer very much like Singer. “They hated him for the amazing thing that had happened to him — his fame — but this they never referred to,” wrote Ozick. “Instead they discussed his style: his Yiddish was impure, his sentences lacked grace and sweep, his paragraph transitions were amateur, vile.”
Halpern showed us a mailgram from Inna to the Forward that makes it clear that she and her husband read and hated the story. In it she describes Ozick as “no less grotesque than evil.”
For all of the gothic Yiddish aspects of its retrieval, “this is probably the single most important literary acquisition in YIVO’s postwar history,” Brent said of the archive. He described publishing projects already underway with Schocken Books and other publishers that will draw on the material.
Max and I discussed what it felt like to see what had become “a bit of a joke” around the Forward office placed at the center of an epic exercise in literary preservation. Max was struck by the way Inna’s personality came through in the papers. “This was her,” he said. “Her obsession, her struggle, all these things. It was definitely remarkable to see that.”
I recalled overhearing his conversations with Inna, and how her behavior could seem funny and exasperating, but also admirable and more than a little sad — in that her devotion to her husband’s reputation may also have prevented scholars from doing the work that would have made him better known.
“Exactly, but that’s one of the reasons why you get into Yiddish literature, because all of these things are true at the same time,” said Max. “Those kinds of scores, rivalries, feuds within Yiddish literature is what is so great about it. It is great to see that somebody really cared and that literature was taken so seriously. And the pettiness was something you couldn’t quite divest from the rest of it.”
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Former Biden Antisemitism Envoy Condemns Harris Campaign’s ‘Antisemitic Inquiry’ of Jewish Gov. Josh Shapiro
Pennsylvania Gov. Josh Shapiro delivers remarks at a bill signing event at Cheyney University, an HBCU in Cheyney, Pennsylvania, US, Aug. 2, 2024. Photo: Bastiaan Slabbers via Reuters Connect
The Biden administration’s deputy special envoy for combating antisemitism accused Kamala Harris’s 2024 presidential campaign of antisemitism following new revelations that the vetting process to determine her running mate for vice president involved grilling Pennsylvania Gov. Josh Shapiro, who is Jewish, on whether he was a “double agent” for Israel.
Jews should be “treated like any other American, regardless of religion, ethnicity, or race. That Gov. Josh Shapiro wrote that he was asked if he was a double agent of the world’s only Jewish state is an antisemitic inquiry,” Aaron Keyak, who also served as the “Jewish engagement director for the Biden-Harris presidential campaign in 2020, said in a statement.
Keyak suggested that Shapiro was “targeted by the staff of the presumptive Democratic presidential nominee” because of his religion, lamenting that the accusation represents a long line of incidents in which federal officials filling roles have “applied a double standard to American Jews during the vetting process.” He added that he had “personal experience” with being asked similar questions and that he has “heard from too many being asked similar questions over many years.”
The statement came after it was revealed that Shapiro was asked during the 2024 Democratic vice-presidential vetting process whether he had ever acted as a “double agent” of the Israeli government, a question he described as deeply offensive and emblematic of a broader problem in how pro-Israel views are sometimes treated in US politics.
In his forthcoming memoir, Where We Keep the Light, Shapiro reflects on being questioned by members of then-US Vice President Kamala Harris’s vetting team about his ties to Israel, including questions of whether he had ever communicated with Israeli intelligence or acted as a “double agent.” Shapiro writes that he immediately pushed back, telling the vetting aide that the question was “offensive” and echoed long-standing antisemitic tropes questioning Jewish Americans’ loyalty.
According to Shapiro, he was told the questions were standard procedure. But the governor, one of the Democratic Party’s most prominent Jewish elected officials, says the experience left him unsettled, particularly because of the historical baggage attached to such accusations.
Shapiro portrays the encounter as “unnecessarily contentious” and suggests in is memoir that no other candidate would be asked whether their faith or foreign policy views made them a secret agent of another country.
“Had I been a double agent for Israel? Was she kidding? I told her how offensive the question was,” Shapiro writes.
“Remus was just doing her job. I get it. But the fact that she asked, or was told to ask that question, by someone else, said a lot about some of the people around the VP,” the governor continues, referring to Dana Remus, a former White House counsel and member of the vetting team.
Shapiro claims that he felt bothered that the Harris team pressed him on his overarching worldview rather than the substance of his positions.
“It nagged at me that their questions weren’t really about substance,” Shapiro writes. “Rather, they were questioning my ideology, my approach, my world view.”
Shapiro also alleges that the Harris team asked whether he would be willing to apologize and walk back condemnations of pro-Hamas protesters on Pennsylvania college campuses. In the wake of Hamas’s Oct. 7, 2023, invasion of southern Israel, activists organized demonstrations celebrating the massacre and venerating the Palestinian terrorist group. Shapiro vigorously denounced the protesters, comparing them to the Ku Klux Klan. His response drew strong criticism from progressive corners of the Democratic Party, which accused him of harboring “anti-Palestinian racism.”
The controversy comes amid heightened political tensions in the Democratic Party over Israel following the Oct. 7 atrocities and the ensuing war in Gaza, which has intensified scrutiny of pro-Israel politicians, especially within progressive Democratic circles.
“The more I read about [Shapiro’s] treatment in the vetting process, the more disturbed I become,” Deborah Lipstadt, the former antisemitism envoy in the Biden administration, said in a post on X/Twitter. “These questions were classic antisemitism.”
Former longtime leader of the Anti-Defamation League Abraham Foxman echoed these condemnations on social media, calling the episode “very disturbing.”
“Aides focused on Israel to the extent he found it offensive. Something very troubling about our current political culture,” he wrote.
Shapiro ultimately was not selected as Harris’s running mate. Minnesota Gov. Tim Walz was chosen instead.
Harris, who served as vice president in the administration of former US President Joe Biden, lost the 2024 election to Donald Trump.
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‘Hands on Our Weapons’: Kataib Hezbollah in Iraq Threatens to Hit US Bases if Trump Strikes Iran
A vehicle carries the coffin of a commander from Iraq’s Kataib Hezbollah armed group who was killed in what they called a “Zionist attack” in the Syrian capital Damascus, during a funeral in Baghdad, Iraq, Sept. 22, 2024. Photo: REUTERS/Thaier Al-Sudani
Kataib Hezbollah, a US-designated terrorist group based in Iraq, has threatened to attack American military bases in the Middle East if President Donald Trump follows through on his threats to strike the Iranian regime in response to state violence against anti-government protesters.
“Kataib Hezbollah is part of the conflict between the United States of America and the Islamic Republic of Iran, and we will not stand on the sidelines. Our hands are on our weapons,” Abu Talib al-Saidi, a senior commander in the Iran-backed militia, told Shafaq News on Friday. He made the comments during a protest outside Iran’s embassy in Baghdad opposing Trump’s threats of military intervention against Tehran.
“During the 12-day war that America waged against Iran, there was a directive and mandate from [Iranian] Supreme Leader Ali Khamenei that we should not interfere in this war, but the situation now is completely different,” al-Saidi continued, referring to the Iran-Israel war last June, when the US struck Iranian nuclear sites following a devastating Israeli air campaign.
“The resistance’s missiles and drones are ready,” he added. “We have a high level of readiness and definitely in case the United States directs strikes on Iran, US bases in Iraq and neighboring countries will not be immune from our missiles and our planes.”
Kataib Hezbollah is part of Iraq’s Popular Mobilization Forces, a group of militias that are part of an official Iraqi security institution. According to the Washington Institute for Near East Policy, the Shiite terrorist group is “the premier militia in Iraq, operating under Iran’s direct command and fielding a wide range of cells responsible for kinetic, media, and social operations, some bankrolled by the Iraqi state.” The US government listed the organization as a Specially Designated Global Terrorist group on July 2, 2009, following a strike on troops in Iraq.
Al-Saidi’s warning followed repeated threats by Trump to target Iran in some manner in response to the regime’s deadly crackdown on protests, which began on Dec. 28 over economic hardships but quickly swelled into nationwide demonstrations calling for the downfall of the country’s Islamist, authoritarian system.
“We’re watching [the protests in Iran] very closely,” Trump told journalists aboard Air Force One on Jan. 4. “If they start killing people like they have in the past, I think they’re going to get hit very hard by the United States.”
The president’s top military advisers reportedly warned him that additional time would be needed to prepare for a potential attack on the regime.
On Jan. 11, Trump said that the US was willing to meet with Iranian officials and in touch with opposition leaders. Iranian Foreign Ministry spokesperson Esmaeil Baghaei said at the time that “the communication channel between our Foreign Minister Abbas Araqchi and the US special envoy [Steve Witkoff] is open and messages are exchanged whenever necessary.”
Two days later, Trump called on Iranian protesters to “take over your institutions” and suggested the US was prepared to take strong action against the regime.
“Iranian Patriots, KEEP PROTESTING – TAKE OVER YOUR INSTITUTIONS!!!” he posted on social media. “Save the names of the killers and abusers. They will pay a big price. I have canceled all meetings with Iranian Officials until the senseless killing of protesters STOPS. HELP IS ON ITS WAY. MIGA [Make Iran Great Again]!!!”
Last Wednesday, an anonymous US official told Reuters that the military had chosen to withdraw some personnel from military bases, a decision mirrored by the United Kingdom which pulled people from their posts in Qatar.
On Friday, Trump denied reports that pressure from Israel and Gulf Arab monarchies to reject a strike on Iran had influenced his decision not to strike yet. He told reporters on the White House lawn that “nobody convinced me. I convinced myself. You had yesterday scheduled over 800 hangings. They didn’t hang anyone. They canceled the hangings. That had a big impact.”
Khamenei and other Iranian officials have blamed Trump for the demonstrations.
The US-based group Human Rights Activists in Iran has confirmed 4,029 deaths during the protests, while the number of fatalities under review stands at 9,049. Additionally, at least 5,811 people have been injured the protests, and the total number of arrests stands at 26,015.
Iranian officials have put the death toll at 5,000 while some reports indicate the figure could be much higher. The Sunday Times, for example, obtained a new report from doctors on the ground, which states that at least 16,500 protesters have died and 330,000 have been injured,
Some Iraqi militia fighters, including members of Kataib Hezbollah, have reportedly aided the Iranian regime with the crackdown against protesters.
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His mother is Israeli, his father is Palestinian. His life? Complicated.
Ibrahim Miari begins his one-man autobiographical show, In Between, by spinning in a circle, arms outstretched, his body swaying to the strains of Arabic music and his smiling face lit by the spotlight above.
It’s a lyrical opening that softens up the audience before Miari, who’s a playwright and lecturer, gets to the meat of the play: his identity. His father, we learn, is a Palestinian-Muslim, while his mother is a Jewish-Israeli. (She converted to Islam to marry his father.) Miari doesn’t know how they met, so he concocts a fantasy version, a meet-cute set to a Beatles soundtrack, for this weekday audience at Northeastern University’s Blackman Theater. It’s gooey and romantic, but it prefigures one of the play’s defining motifs — that, political turmoil be damned, all you need is love. If this was perhaps an overly rosy outlook in 2011, when Miari first performed In Between, today it seems positively far-fetched.
Miari’s parents eventually settled in Akko, a mixed Arab-Jewish city on the coast of northern Israel. In the first of a series of episodes from Miari’s childhood, he attends a mainstream Israeli school — over his father’s objections — where he celebrates Israel’s Independence Day and, for a Purim costume contest, dresses up as a garden in bloom, winning first prize. His father tells his son that next year he will dress up as a cactus, the better to let his classmates know they’re on stolen land.
Miari speaks unaccented Hebrew; his teachers and friends call him Avraham. Later, he transfers to a nearby Palestinian-Arabic school, and there he commemorates Independence Day rather differently, as the Nakba, or Catastrophe. His teachers and friends call him Ibrahim.
Such episodes illustrate not just Miari’s duelling cultural obligations, but the difficulties he will face reconciling them — after all, we never see him in an environment where both are equally embraced. (It should be noted we are given his mother’s perspective only too rarely.)
Miari toggles easily, impressively, between his life’s principal characters. Props are only occasionally employed. His eyebrows do much of the heavy lifting: they furrow, and Miari is transformed, no longer a wide-eyed, adolescent Avraham/Ibrahim, but his gloomy father.
At a Canadian summer camp for peace activists, Miari, now an adult, meets and swiftly falls for a Jewish-American woman, Sarah Goldberg — they get engaged, but finding a wedding officiant open to a hybrid ceremony proves difficult. Even a Buddhist cleric (Sarah is a so-called BuJew) turns the couple down. Miari, who has a tendency to over-explain, laments that he’s “not Jewish enough, not Muslim enough, not even Buddhist enough!”
The play’s other set piece is from later in Miari’s life, an airport encounter-turned-interrogation with an El Al security agent suspicious of Miari’s overstuffed suitcase — which he’s borrowed from Sarah. Narrowing his eyes at the suitcase’s name label, the agent says, “You don’t look like a Sarah, and you definitely don’t look like a Goldberg.”
The idea that the agent is an oaf and a bigot is plausible enough, but he’s so much a caricature that the seriousness of Miari’s point, that he’s forever suspended between Arab and Israeli, neither one thing nor the other, gets muddled. Miari gives Sarah’s mother the same treatment: meeting him for the first time, she provides little more than a whistlestop tour of stereotypes of elderly Jewish-American women. It’s grim to watch.
Both characters exemplify In Between’s biggest shortcoming: its lack of subtlety. Sure, it’s a funny play — Miari is a gifted physical comic — but the hijinks don’t really illuminate the challenges of Miari’s Arab-Jewish identity; mostly, they’re a distraction. (Case in point: Miari’s scene partner, when he searches for a wedding officiant, is an eight-foot puppet dressed as an Orthodox Rabbi, which Miari ventriloquizes.)
In short, there’s a poignancy deficit, which is made all the more stark by the play’s standout moment. Near the end, Miari talks directly to the audience about his grandmothers, one Jewish, the other Palestinian, both of whom have passed away. They lived barely five miles from each other, but never met. “I’m sad they won’t see my wedding,” Miari says, “or meet their grandchildren.” He sits glumly on a chair, looking like a lost child. It’s sad and tender, a welcome moment of introspection in an otherwise helter-skelter production.
In Between concludes on an upbeat note, Miari informing the audience that he and Sarah were married in a cross-cultural, officiant-less wedding. Marriage — love — has quieted his existential turmoil, he tells us. He has at last found the belonging he’s coveted for decades.
It’s a sweet message but solipsistic — not least with today’s Middle East as a backdrop. I found it hard to believe Miari’s marriage meant he could forget his decades-long struggle over his split identity, especially when that happy union, at least in the play’s telling, did not address this issue so much as ignore it. Still, it’s an ending in keeping with the play’s broader tone — heavy on humor and shtick, lighter altogether on substance.
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